[JAPAN MOVIE 2012-2014] るろうに剣心 -明治剣客浪漫譚- / RUROUNI KENSHIN

[pechumori]

In Fukuoka



Hiroshima stage greeting. hand painted board



in Hiroshima



in Osaka





in Nagoya



Sapporo Cinema's amazing board





signed posters of nostalgia



in Marioka



in Saitama



in Shinjuku







credit:  ruroken

[Maja]

Bogart the Explorer Invades Rurouni Kenshin: Kyoto Inferno

cr to PaperbugTV

[Maja]

Some BTS pics from Rurouni Kenshin pt. 1 ) )

Photos from the
*Rurouni Kenshin るろうに剣心 The Movie Official Site.
*http://special.movies.yahoo.co.jp/detail/20120626092850/
*RuroKen Baidu

[Maja]

Interview: Live-Action Rurouni Kenshin Director Keishi Otomo

The films Rurouni Kenshin: Kyoto Inferno/The Legend Ends have gathered attention from around the world.What has changed in this new series from the previous film? What did they do with the techniques? Why does the story in the films differ from the original version? With these questions in mind, we spoke with Keishi Otomo, director of the live-action Rurouni Kenshin films.[Keishi Otomo Profile]
Japanese producer and film director. Born in 1966. Joined NHK in 1990 and studied in LA for two years beginning in 1997 through the Akita broadcasting station. Studied screenwriting and film production in Hollywood. Upon returning to Japan, mesmerized fans with vivid images and stories that carefully captured the human mind with dramas The Vulture and Jirō Shirasu, the film version of The Vulture and Taiga drama Ryōmaden. Received awards for works and screenwriting both in Japan and elsewhere.Went independent in April 2011 and established Ohtomo Keishi Co., Ltd. In the same year, became the first person from Japan to sign a multi-film directing contract with Warner Bros. Released Rurouni Kenshin in 2012. It played in 64 countries and 2 regions around the world. It became a big hit, grossing over 3 billion yen at the box office. A Larger Scale than the Previous Film──What changes were made from the previous Rurouni Kenshin film?Keishi Otomo: The biggest change was that it’s a larger scale. In the previous film, it was a story about Kamiya Dojo and protecting both it and Kaoru, whereas in this series, it’s a story about the fight to protect the new Meiji era, which Kenshin has played a part in creating. In response to that, we needed to increase the overall scale of the films.

──What stands out about these films? KO: What stands out... There is way too much... [laughs] First of all, I thought it was important that, as a premise, the image of the cast and the characters from the original matched. While shooting, I made sure the cast of each film played the characters without losing any of their appeal from the original version. It’s Okay to Let Takeru Satoh Be?!──What advice did you give to Takeru Satoh, who plays the lead, during filming? KO: Basically, Takeru himself is a big Kenshin fan, so he had set the bar high for the live-action adaptation along with all of the fans. Even when we first offered him the role in the previous film, he said, “It’s impossible [to do Kenshin as live-action].” But I went over things one-by-one with him, like, “There’s a chance if we do the action this way,” and persuaded him little by little.Takeru’s performance as Kenshin drew support from people around the world in the first film. He even received praise saying that it was the role of a lifetime for actor Takeru Satoh. In that sense, Takeru Satoh wasn’t worried about playing Kenshin this time. His motivation was high and he gave it his all in stagefighting 1 practice. He never complained even during difficult shots, and he always concentrated on being Kenshin.In that sense it was fine to let him be. [laughs] Even without saying this or that from the side, he created an image of Kenshin, including his behavior, swordplay, and speech, through the necessary preparation and hard work. So I didn’t worry at all.

I Love Manga──Did you read through the original? KO: I did. I read through it many times while drawing lines in the script. [laughs] I’ve always been someone who likes anime and manga. Up until about junior high, there were things like Triton of the Sea 2, Space Battleship Yamato and Ashita no Joe, as well as Gatchaman. It was right around the time that Animage 3 was first published, and I would buy every issue. I also liked to draw myself.──Did you draw manga?KO: Yes. In elementary school, I once made something that resembles what people call doujinshi now with my friends who like manga. There was that and I also made a manga calendar on my own every year. [laughs] I would draw scenes from my favorite anime and manga, like Star of the Giants or Battle Nisei. I’m busy lately and I’m not really able to take the time to watch anime on TV. But I still read manga a lot when I’m traveling.

The Films Took Their Current Form Out of a Respect for the Original Material──Let’s go back to the film. In the original, Aoshi Shinomori appears in the Kanryū Takeda arc. However, in the film, he appears first in the Kyoto arc. Was there some meaning behind this?KO: To be honest, it’s that the first film was at it’s limit. It would have been difficult last time to put Aoshi on top of the many other characters in it. In general, Japanese films at a length of just under 2 hours are composed of a main cast of about 5-6 people. Looking at it that way, if we had put in the Oniwabanshū and had them get tangled with Kanryū Takeda and from there introduce Aoshi, it would have been difficult from a story perspective and the film would have been 3 hours long.

You definitely can’t just cast anyone in the role of Aoshi, and you can’t fully depict his sadness in just a few scenes. So it wasn’t that I was just taking liberties with the original. It was out of respect for the series that I didn’t put Aoshi in the first film. Since the main battle is with Shishio, you could even make the argument that Aoshi isn’t really necessary in these films either. That’s because Aoshi of the Oniwabanshū is in some ways a sidestory. But Kyoto Inferno without Aoshi would be impossible. It would be inexcusable to both the original series and the fans. A Kyoto arc without Okina would be unthinkable as well.──The films could fail.KO: Right. Thinking of it as a film adaptation of the completed original Rurouni Kenshin, “fail” isn’t too strong a word to use. So, I took considerable care. With the film adaptation of a series with this much global popularity rooted in it, it’s not just the creator, but also the fans around the world that you can’t let down. As the one making it, I felt that I wanted to put something into the world that would satisfy them. So it’s not that I’m using my position as director to do what I want based on my own personal likes and tastes. [laughs] It’s a wonderful manga that’s praised globally, so I wanted to do it justice, and as a result, it became a big project that took a lot of time and funding. As for the Techniques...?──Do well-known techniques from the original series, such as “Futae no Kiwami” and “Amakakeru Ryū no Hirameki,” appear or do they not? KO: For those as well, I feel that if I’m going to do them, I want to do them right. However, with Futae no Kiwami, Anji and Sanosuke’s story couldn’t be told well enough in the film in the time allotted. It would have to be done as an extra. Because of that, in the 2-hour constraints for both films, their relationship had to be changed.

In film, if you don’t keep it focused on the lead, the viewers won’t know who to empathize with and their attention will get scattered and they’ll lose interest. To tell a necessary story to an acceptable degree in a set amount of time, you end up cutting [techniques like Futae no Kiwami]. That’s unavoidable when you’re thinking about the nature of timed art like films. Though I did want Sanosuke to do something like Sanjū no Kiwami. But, in Kyoto Inferno and of course The Legend Ends, Sanosuke does keep doing an action that resembles Futae no Kiwami. You could say that was my own modest way of taking that on. Everyone, please check it out while watching the film closely.On top of that, in The Legend Ends, we included several things that will make all of you viewers gasp, so look forward to that. My goal was to create something incredibly cool that brought out everything great about the original series, with action that surpassed normal human limits and a dramatic storyline. ──Finally, could you provide some words to all of the fans eagerly awaiting the release of the films around the world?KO: The cast and staff came together and put all their energy into making this new film series with the intent of building on the previous film and showing the world of the original series even just a little better. I would like for many people to see it, even if they go alone.1 Scenes depicting battles on stage.2 A manga and anime by Osamu Tezuka. It tells the adventures of Kazuya Yasaki and the baby “Triton” of the Triton family of merpeople that Kazuya takes in. The manga began serialization in September 1969.3 Japan’s oldest monthly anime magazine. It began running in May 1978. It’s one of Japan’s top three anime magazines. It’s released on the 10th of every month. Rurouni Kenshin: Kyoto Inferno/The Legend Ends Film Official SiteKeishi Otomo Official SiteThis is a Tokyo Otaku Mode original article.

Link : http://otakumode.com/news/53a930370dc269806e000067

Source :

[Maja]

'Rurouni Kenshin: Kyoto Inferno' tops Philippine box office

Posted on Monday Aug 25th at 4:04pm

MANILA, Philippines - "Rurouni Kenshin: Kyoto Inferno" topped the Philippine box-office with P42.61 million in five days, from its first day of screening last August 20 to 24.

The movie captured the "All-Time Biggest Opening Weekend" for a Japanese film and its opening figure has surpassed the lifetime gross of the first "Rurouni Kenshin" movie, which earned P40.4 illion in its overall run in 2012.

“This is a phenomenal bow for `Rurouni Kenshin: Kyoto Inferno,' one that surely exceeded even our aggressive estimates,” says Francis Soliven, general manager of Warner Bros. (F.E.), Inc. which locally distributed the film.

“We'd like to thank the loyal fans of the franchise for their unwavering support and offer our congratulations to director Keishi Otomo and the cast led by Takeru Satoh, Emi Takei and Munetaka Aoki. The aforementioned talents graciously helped promote the film when they visited here for the Asian Premiere three weeks ago. We have no doubt that their visit enabled us to launch the film in the best way possible,” he added.

Posting the biggest receipts was SM Megamall with P2.39 million over five days, while Trinoma was second with P2.16 million, and SM Cebu at third with P1.62 million.

In the Top Ten Theaters are SM Mall of Asia (P1.57 million), Glorietta 4 (P1.41 million), SM North EDSA (P1.38 million), Ayala Cebu (P1.30 million), Greenbelt 3 (P1.23 million), Eastwood (P866,850) and Gateway (P864,056).

Completing the Top Twenty are Alabang Town Center (P841,091), Greenhills (P774,768), Shangri-la (P743,634), Power Plant (P717,510), SM Aura (P655,044), Centrio Cagayan de Oro (P643,260), Robinsons Ermita (P617,200), Robinsons Magnolia (P608,664), Bonifacio High Street (P597,550) and Market! Market! (P579,084).

Based on the Kyoto arc of the popular manga series written and illustrated by Nobuhiro Watsuki, the “Rurouni Kenshin” sequels follow the story of Kenshin Himura (Takeru Satoh), a legendary swordsman in the wars accompanying the turbulent fall of Japan's Shogunate in the 19th century. Once feared as "Battosai the Killer," he has adopted a peaceful life since the arrival of the "new age."

But Makoto Shishio (Tatsuya Fujiwara), the "Shadow Killer" and successor to Kenshin's position as the deadly assassin, has since then been scheming in the Kyoto underworld, raising an army of disaffected former samurais with the aim of overthrowing the new regime.

Agreeing to a request by the new government to defeat Shishio, Kenshin leaves his beloved ones in Tokyo and sets out for Kyoto.

The last installment of the Samurai X movies "Rurouni Kenshin: The Legend Ends" opens in Philippine theaters on Sept. 24, 2014.

Source: http://m.philstar.com/314190/show/293ca1ce6464204a77fa2a11c2187858/

[Maja]

Spoiler Alert: (Don't open spoiler tag if you don't want to be spoilered)

Rurouni Kenshin Kyoto Taika Hen (Kyoto Inferno) Movie Review

Contains MAJOR spoilers under the cut.

Just like when we saw the first Rurouni Kenshin film back in 2012, we felt excited and apprehensive right before we saw Kyoto Taika Hen (Kyoto Inferno). What if this movie sucks? What if it isn’t faithful to the manga? What if it fails to live up to the quality of the first film? Still, we chose to let go of these concerns and tried our best to watch it without any expectations.

What we saw blew us away and we found ourselves smiling all throughout the film even though the scenes are supposed to be serious. We couldn’t help it. This movie made us so happy!

Despite using original scenes as its introduction, Rurouni Kenshin Kyoto Inferno is surprisingly more faithful to the manga than expected. Kyoto Arc is a looooong arc so it isn’t surprising that they decided to divide it into two movies.

With all the events they have to cover and all the characters they have to introduce, you’d assume that the movie people will take the easy route and remove what they think are unnecessary parts of the story. However, they did the exact opposite. Kyoto Inferno covered all the scenes that we were expecting to see, and even had time to squeeze in original scenes and interpret some iconic ones differently. There are still some scenes that didn’t make it to the movie but with all the ones that they were able to include, it’s difficult to complain. Almost all the important characters in the first part of the Kyoto Arc make an appearance too and all of them were given ample time to shine.

Like the first movie, Kyoto Inferno took some liberties in translating the manga to the live action. A lot of things are different but it remains true to the essence of the story. We’re big fans of the manga and we think the movie did a great job in adapting it. In fact the biggest deviation involves Aoshi’s past, which is understandable because he wasn’t included in the first movie. Diehard Oniwabanshu fans might be disappointed with the changes but we personally think that the movie people chose the best way to include Aoshi in the film.

The movie is great as it is. The sequence of events is almost the same in the manga and all the characters you thought you won’t see are there too. Newcomers might be confused with some parts of the movie and might not be able to appreciate it as much as the fans. For example, we love the Cho fight because it’s faithful to the manga but those seeing it for the first time might wonder why it took Kenshin too long to unsheathe his sword.

A lot of Sato Naoki’s songs from the first live action’s OST were also used in Kyoto Taika Hen. There are new songs too and we particularly loved the music used during Kenshin and Cho’s fight.

The official Kyoto Inferno English subtitles is better and less awkward compared to the one used in the first movie. We still can’t get over how Oniwabanshu was translated though.

Kyoto Inferno’s set design has a more “raw” feel to it compared to the first movie. The surroundings are grittier and more realistic. Juppongatana and Oniwabanshu costumes are colorful but didn’t look cartoon-ish. We also love the way Kenshin disguised himself on his way to Kyoto. ^^x

The action scenes are as good as the ones in the first film. However, it has less gimmicks that would make them stand out from each other. We blame that to the fact that this movie has more minor fights than major ones. The only important fights here are the ones between Kenshin and Soujiro, Kenshin and Cho, and Aoshi and Okina. Kenshin and Shishio barely crossed swords. The other fights may be minor but the action is still exciting. We’re assuming that we’re going to see more elaborate action sequences in the third movie.

The storytelling used in the movie was great but it wouldn’t work as well as it did without the stellar performances of the actors. Sato Takeru is as Kenshin-like as ever. He has less “oro” moments in this film but he successfully showed both Kenshin’s soft and serious sides. Our favorite part of his performance was during his fight with Cho. Those familiar with the manga and anime know that Kenshin went Battousai because of Iori. Sato Takeru portrayed Kenshin’s inner struggle against unsheathing the sword given to him perfectly. He also made it clear that Kenshin went Battousai by using the same subtle movements that he used in portraying Battousai in the first film.

Takei Emi gave a nuanced interpretation of Kaoru. While manga and anime Kaoru broke down and cried after Kenshin’s departure, movie Kaoru’s reactions were more restrained. Instead of staying in her room, Kaoru acted like nothing happened and that Kenshin’s goodbye did not affect her. Now before any of you complain, we want to say that we love this new interpretation of Kaoru. We love it not because we didn’t like Kaoru’s reaction in the manga but because movie Kaoru’s restrained reaction is as valid and as believable as manga and anime Kaoru’s emotional ones. It’s all thanks to Takei Emi. We love the way her eyes watered and turned red when Kenshin said farewell. We love the way she looked like she was always on the verge of breaking down whenever Kenshin is mentioned. Emi’s reactions are more restrained, yes, but it didn’t make Kaoru look less hurt.

Aoki Munetaka’s Sano is still a crowd favorite, Oyagi Kaitou’s Yahiko is endearing, and Aoi Yu’s Megumi is still sassy but more carefree.

As for the newcomers, Fujiwara Tatsuya gave Shishio justice. His voice and the way he laughed were soooo Shishio. Iseya Yusuke (our long-time bias) looked awkward as Aoshi at first but his Aoshi grew on us as the film progressed (We swear it has nothing to do with him losing his awful coat and showing his shoulders. We swear!)

Kamiki Ryunosuke is Soujiro personified. He showed how Soujiro could quickly shift from innocent to ruthless believably. He’s just too cute! And he was able to match Takeru’s movements too. Do you want to see the live action version of Soujiro’s footworks and mannerisms? Kamiki Ryunosuke performed everything perfectly.

The show stealer, however, is none other than Tsuchiya Tao’s Misao. We admit that Misao isn’t really our favorite character but we absolutely love her in the movie. Her first appearance is one of the funniest and cutest parts in the film. She acted like Misao, she talked like Misao, she moved like Misao. We love her so much!

The supporting characters are great too! Miura Ryosuke got Cho down pat complete with the character’s accent and signature wink. Tanaka Min looks exactly like Okina but is more subdued. Takahashi Maryjun’s Yumi is classy and sexy and we wish that we’d see more of her in the third film (Break our hearts, movie people!) Houji is as obsessed with the Juppongatana, Shishio, and weapons in the movie as he is in the manga and the anime. The other members of the Juppongatana weren’t focused on that much but we’ll surely see more of them in The Legend Ends.

Senkaku was removed from the movie and it’s okay because we were expecting that. What we didn’t expect was how good the actor for Eiji is, or how that memorable sakabatou flashback made its way into the film. Sadly, Tokio doesn’t make an appearance but we think the filmmakers tried to make up for that by giving us a yukata-clad Saitou. ^^x

KYOTO INFERNO SUMMARY & COMMENTARY
(Spoilers! Spoilers everywhere! Don’t say we didn’t warn you!)

The movie starts with Saitou and a group of police making their way into a hideout. A lot of them mysteriously die and we see the silhouette of a young man flitting in and out of the shadows. Saitou finally comes face to face with Shishio, who tries to convince him to join his cause. Saitou declines and challenges Shishio with a bloody gatotsu. It hasn’t been ten minutes into the movie yet and we’re already squealing. Thanks, Saitou.

The scene shifts to a play about the Shinsengumi and Hitokiri Bakkyusai, a red-haired assassin with a cross-shaped scar. The Kenshingumi sits in the audience and we see Kenshin good-naturedly laughing at the silly way he was being portrayed onstage. Sano and Kaoru get carried away by the Bakkyusai play and Kenshin has to remind them that the play is about Bakkyusai not Battousai. ^^x

The play ends and Kaoru muses that Kenshin is now only a legend and we love how this symbolizes how peaceful life has been for the Kenshingumi.

We see a normal day in the Kamiya Dojo. Kaoru has students other than Yahiko and just like what Yahiko usually does, the students ask Kenshin to teach them Hiten Mitsurugi Ryu. Kenshin, of course, declines. He has more important things to do like making dinner, for example. The first movie skipped these scenes in the manga and we loved how they included them here.

We also see Kenshin and Kaoru sharing “okaeri-tadaima” moments like it’s the most natural thing in the world (eye sex game too strong). Sanosuke and Megumi act like teenagers and did they just chase each other? SanoMeg fans will be delighted.

Two police officers arrive and interrupt the peaceful Kenshingumi interaction. They ask Kenshin to go to Okubo. Everyone else complains because Kenshin’s supposed to make dinner after all! But, in the end, Kenshin goes to Okubo and Sano accompanies him.

Once they’re in his office, Okubo tells Kenshin about Shishio’s plot and shares Shishio’s backstory. Aside from being a brilliant parallel to the Bakumatsu scene in the first movie, Shishio’s backstory gives us a glimpse of how ambitious and entitled Shishio is. Unlike Kenshin who simply walked away when the imperial seal was raised, Shishio kept killing his enemies and acted like the Ishin Shishi won because of him. Even so, we still felt bad when the Ishin Shishi stabbed him multiple times, and burned him with a pile of corpses. We also like how the movie gave a more believable explanation on how he survived.

Sano doesn’t waste time in expressing his anger towards Okubo and Kawaji. His backstory with the Sekihoutai may not have made it into the first film but his distaste for the new government did. Okubo gives Kenshin a week to make a decision.

Sano recounts the whole Okubo conversation to the rest of the Kenshingumi. We love the way Sano and Megumi reacted to Kawaji’s threats. Kaoru and Yahiko were calmer.

May 14 arrives and Okubo ponders about Kenshin’s decision. Soujiro silently chases his carriage and almost falls off of it. He greets Okubo politely, informs him that Shishio knows his plans, and finally delivers a merciless kill. 

Meanwhile, Kenshin does the laundry. It was so cute and so Kenshin and we’re glad they included it! The scene is so similar to the manga where Sano reprimanded Kenshin about choosing to do laundry on May 14. Kaoru offers to go with him but Kenshin says it’s better for him to go alone.

The rebels who claimed they assassinated Okubo were shown but they were too late. Kenshin arrives late too and sees what happened to Okubo. Soujiro sneaks up on him and warns him about Shishio. Kenshin wonders if Soujiro was one of Shishio’s men. He goes to Kawaji and is welcomed by a courtyard full of coffins and mourning family members. Kawaji says that the coffins contain deceased officers. Shishio intentionally sent them that day to coincide with Okubo’s assassination. Saitou arrives and tells Kenshin that they should go to Kyoto. Kenshin surveys the scene and is reminded once again of Tomoe. We’re disappointed that they used the same Tomoe scene in the first movie but we’re still glad that they included it. If you look closely, you’ll also see Sato Takeru getting teary eyed at this scene. It’s a subtle and nice touch!

"Extra! Extra! Lord Okubo has been assassinated!" Yes, our trusty news guy makes an appearance in the movie too. His flyer reaches everyone including Kaoru, who is waiting for Kenshin’s return.

Kenshin sees Kaoru waiting for him. Kaoru says “Welcome home!” but Kenshin replies with grim news about the assassination. Thus, we have the richard simmons firefly farewell scene sans the fireflies. Is the lack of fireflies a big deal? Not really. Especially if you’re going to focus on how pained Kenshin and Kaoru looked all throughout the conversation, which is the point of the whole scene in the first place. After Kenshin walks away, Kaoru does this little turn and looks as if she wanted to chase him but couldn’t. It hurts. But it hurts so good.

After learning what has transpired, Sanosuke goes on a rampage. He can’t accept the fact that Kenshin left and made him look like a nuisance. He comes across Aoshi, who’s looking for Battousai, and challenges him to a fight to let out some steam. Sano gets the richard simmons beat out of him. Fortunately, Megumi comes to the rescue. And yes, we have Aoshi and Megumi interaction too. ^^x

On the road to Tokaido, Kenshin disguises himself so that no one would recognize him. Shishio’s spy still sees him though.

Word reaches Shishio that Kenshin is on his way to Kyoto. He and Soujiro deduce that Kenshin will pass by Shingetsu. Shishio decides that they should arrange a welcome for him.

At night, Kenshin stops by the river to rest and eat. Misao sneaks up on him and steals his sword. She runs for her life and thinks that she has outran him only to find out that he’s right in front of her. Misao and Kenshin’s interactions are so cute! And we love how they were able to insert a little action sequence in it.

Enter Eiji. Eiji is heartbreakingly brilliant. We have him and his brother and the corpses of his parents displayed for the whole Shingetsu village to see. Eiji is much younger in the movie than what we imagined but that made his character even more heartbreaking.

Blinded by anger, Eiji takes out his dagger and prepares to attack Shishio’s men, who announced that they killed his parents to serve as an example to the rest of the villagers. Kenshin stops him and singlehandedly beats all the Shingetsu goons.

Misao and Eiji are dumbfounded. Kenshin and Misao proceed to bring down the hanging corpses despite the villagers’ protests. Someone applauds from behind and we see Soujiro walking towards them. He reveals Kenshin’s true identity and invites him to Shishio’s Shingetsu headquarters. We see Shishio killing for fun and marveling how good his sword, a nagasone kotetsu, is. Those who are familiar with the manga know that the nagasone kotetsu is the sword Shishio lends Soujiro in Soujiro and Kenshin’s first fight. We love how this detail is included here.

Kenshin draws his sword and challenges Shishio but ends up dealing with Soujiro instead. Like in the manga, Shishio and Yumi discuss how both Kenshin and Soujiro use battoujutsu and why Soujiro might win. The fight itself is awesome and longer than we expected. Kamiki Ryunosuke was able to match Sato Takeru’s moves which made everything more believable. The sakabatou breaks and Soujiro laments the damage Kenshin did to Shishio’s nagasone kotetsu. He tells Kenshin to get a new sword soon. 

At Shingetsu, the villagers have tied Shishio’s goons and are egging Eiji to kill the men. Kenshin stops Eiji from avenging his family just in time. He even delivers one of the most memorable lines in the manga: “The dead doesn’t wish for revenge but the happiness of the living.” Everything is so Kenshin and nothing hurts.

Soujiro later finds out that the nagasone kotetsu is valuable. Shishio believes that he has underestimated Kenshin. We catch a glimpse of Houji and his artillery. Do you hear the sound of Yukishiro Enishi’s laughter in the background? We do! Anyway, Shishio orders Soujiro to find the Juppongatana. Soujiro is surprised. Houji is elated.

Back at the dojo, we see the red gi innocently hanging in the clothesline. The Kenshingumi carefully exchange glances because of Kaoru’s behavior and Megumi finally decides that she’s had enough of the girl’s pretense. Kaoru refuses to budge. Sano says that he’ll go after Kenshin despite his injuries from Aoshi and Megumi gives him medicine and a salve. Sano, being the genius KenKao shipper that he is, automatically hands the salve to Kaoru. “It’s not my job to heal his wounds.” Way to go Sano! What made this scene more awesome is the fact that Sano walked with a chicken. We’re not sure if that was intentional but it was so funny!

Kenshin finally arrives in Kyoto and is dragged by an energetic Misao to the Aoiya. Misao introduces him to Okina, and says that they should make Kenshin pay through the nose. She reveals that Kenshin is Hitokiri Battousai. Okina talks with Kenshin in private and tells him about Aoshi. When Kenshin asks about Misao, Okina admits that she doesn’t know anything and that Misao “still pines for him.”

Aoshi. Aoshi and his arms. Aoshi and his hair. Aoshi and his smoldering glare. Okay, okay! We’ll stop fangirling now. Iseya Yusuke has long been a bias of ours but we really do think that he made a fine Aoshi in terms of looks and performance. Aoshi’s backstory is exactly how we expected it to be with his comrades falling during the Bakumatsu instead of the Meiji and Aoshi putting the blame on Battousai. Oniwabanshu fans might have mixed opinions about this but we personally think that this is the best option for the movie.

Okina tells Kenshin that despite their Aoiya cover, the Oniwabanshu is still very much active. He offers Kenshin his help. Kenshin asks him to find Arai Shakku.

At night, Kenshin visits a yukata-clad Saitou. The women in the room leave while the men gather in a circle and examine a map. Saitou talks about Shishio’s villages and how the government has abandoned those villages. The government doesn’t want to send the army since Japan will appear weak to foreign nations. That and they’re afraid that they will end up like Okubo.

Back at the Juppongatana headquarters, Cho arrives first and talks about Shakku’s last sword. He looks like a character from another anime but he’s cute so it’s okay. ^^x

Kenshin visits a graveyard. We originally thought that he’s visiting Tomoe because the graveyard looked similar to her graveyard in the manga. Too bad Kenshin’s only visiting Shakku. We also get a flashback of Shakku giving Kenshin the sakabatou and telling Kenshin to meet him again when it breaks. It’s an unexpected scene and we love the movie for having it.

Kenshin talks to Shakku’s son Seikuu and requests for a new sword but Seikuu declines and says that he only makes knives now. Kenshin catches a glimpse of Seikuu’s wife and Iori and he understands. He apologizes and leaves.

While wandering around the streets of Kyoto, Hitokiri Battousai chances upon a pinwheel seller and is immediately reminded of Iori. He buys a pinwheel and happily skips and frolics on the grassy hills back to Arai’s home to hand his gift. What a dork.

Unfortunately, Cho gets there before him and kidnaps Iori. Kenshin is welcomed by tearful parents and he immediately makes his way to where Cho is.

Cho is exactly like he is in the manga complete with his signature accent and wink. The baby they got to play Iori is super cute too! We were too busy watching the fight that we didn’t notice if Cho used the Hakujin no Tachi but we do think that he used the Renbato. Hakujin no Tachi or not, the fight was still awesome and they succeeded in making all the moves realistic. Like in the manga, Seikuu realizes that Kenshin deserves his father’s last sword. He makes his way to the storage and throws the sword at Kenshin. The additional suspense made everything better.

Meanwhile, Kaoru and Yahiko arrive in Kyoto and hear about ex-swordsmen fighting in the temple. Yahiko automatically grabs Kaoru to where the fight is. Cho threatens to kill Iori if Kenshin doesn’t draw his sword. Seikuu throws his father’s last sword and tells Kenshin to use it. Kaoru sees what’s happening and tries to stop Kenshin from killing. Kenshin, of course, wasn’t able to control himself, goes Battousai on Cho, and uses Shakku’s last sword.

He then realizes that Kaoru and Yahiko witnessed what he did. It might be subtle and it might just be our own interpretation but Kenshin looked like he was ashamed that Kaoru and Yahiko saw him going Battousai. It doesn’t help that Cho looked like he actually died. Kenshin is silent and Kaoru is teary-eyed. Good thing Yahiko is observant and finds out that Shakku’s last sword is actually a sakabatou.

Seikuu tells Kenshin that Shakku’s last sword is the real sakabatou, the superior sword that his father offered to the gods, and the one Kenshin had was just its “shadow.” He gives the real sakabatou to Kenshin, saying that this is what his father would have wanted.

Back at his room at the Aoiya, Kenshin examines Shakku’s message hidden in the sword’s hilt. Yahiko and Kaoru enter. Kaoru asks Kenshin if he’s angry at her for following him. Kenshin acts indifferent. “Half of me is. The other half is relieved.”

This line made everyone in the movie theater squeal. And Yahiko just had to add his own comment, which made us squeal and laugh even more.

Kenshin remembers Shakku’s words and thinks that just like the sword maker, his head is also still full of nonsense.

Elsewhere, Saitou and the police threaten to torture Cho if he doesn’t give information about Shishio. Cho says he’s not loyal to Shishio anyway and reveals the Juppongatana’s plans. Kenshin also arrives in the prison. Saitou tells him about Shishio’s plans to burn Kyoto. Kenshin wonders why Cho would reveal information as important as this. A police officer confidently says that the Juppongatana is made of hoodlums and there will always be people who will talk.

The rest of the Juppongatana finally arrive in Kyoto. Iwanbo looks creepier in the movie than in the manga. It makes us wonder if Gein is nearby. Shishio tells Soujiro, “Remember my souvenir.”

Martial law is declared in the city. The Oniwabanshu reveal their uniforms and weapons. Everyone is badass!

Kaoru approaches Kenshin and tells him that she wants to fight too. Yahiko says he wants to show Kenshin how he has improved. Kenshin’s all “But…” and he and Kaoru have a stare down. Kenshin realizes that Kaoru’s merely informing him that she wishes to fight, not asking for his permission. He tells her to not force herself and discreetly looks at an Oniwabanshu member (Unsaid: “Keep them safe for me”). Saitou approaches and tells Kaoru that a kendo instructor has no place in a battlefield. Was that concern or condescension?

Shishio’s monks and goons march to Kyoto with a large fire in tow. Police, the Oniwabanshu, Kaoru, Yahiko and everyone else prepare to fight. Saitou smokes. Meanwhle, Kenshin sits handsomely in a corner. Oh, Kenshin.

The Kyoto fight begins. Misao kicks richard simmons magnificently. Kaoru and Yahiko fight back to back. Kenshin and Saitou work with the police. Sano appears out of nowhere and joins the commotion.

We love how everyone worked together but still remained badasses on their own. We also love the way Kenshin secretly made a point to look out for Kaoru. Misao and Kaoru had few interactions in the movie but we love the scene where they fought together.

Meanwhile, Aoshi arrives at the Aoiya and says that he heard that the Battousai is staying in the inn. Okina confronts him and a fight ensues. This is probably our favorite fight in the entire movie. Outside, someone informs Misao that Aoshi has come back. Our weasel girl excitedly makes her way back to the Aoiya just in time to see Okina fall because of Aoshi. Aoshi tells her, “I’m not the man you used to know.” Excuse us as we cry in a corner.

Kenshin sees Shishio and falls into a trap. Sano helps him and the two are reunited. The Kenshin/Sano fanservice made everyone in the theater squeal.

The police successfully stops the fire and Sano celebrates. Kenshin and Saitou, however, are not satisfied because everything has been too easy. They take out a map and Kenshin realizes that Shishio is only using Kyoto as a distraction. His real aim is Tokyo.

Kaoru, exhausted from fighting and preventing unnecessary deaths (the girl goes around alternately beating people up and saying “Don’t kill!”), takes a break and drinks water. Soujiro sneaks up on her. Kaoru surveys her enemy and prepares to fight but Soujiro is faster and he beats her in no time. He takes Kaoru to his horse and heads straight to the Rengoku.

Kenshin, who is still busy talking with Saitou, sees Soujiro with Kaoru. He is beyond furious and goes right after them.

Kenshin reaches the Rengoku and tells Shishio to leave Kaoru out of this. Shishio taunts him and calls him “senpai.”

Houji and Yumi appear with Kaoru. Before anyone complains about Kaoru being a damsel, we’d like to point out that even though she was used as a bait, Kaoru didn’t act like she needed saving. Instead, she struggled against Houji and Yumi and told Kenshin that he should make sure that he lives.

The Juppongatana and Shishio fought Kenshin for a few moments but Shishio is not satisfied with Kenshin’s performance. Houji takes this as a cue and throws Kaoru overboard. Kenshin sees this and immediately dives after her. He frantically shouts her name in vain. On board, Shishio’s sad and disappointed because Battousai is more interested in playing “love suicides.”

The rain stops and an unconscious Kenshin is washed ashore. A mysterious man appears, examines Kenshin’s sakabatou, and carries him away.

The movie ends with a cliffhanger and we’re not going to say anything about it except that it made us scream after we saw it! What a way to end the film!

If it isn’t obvious yet, Kyoto Inferno is definitely a must-watch for any RuroKen fan. It’s not perfect but it certainly is a good adaptation of one of the best arcs of the series. We’re so thankful and lucky that Rurouni Kenshin got the adaptations it deserves. We can’t wait to see The Legend Ends and we’re going to keep our fingers crossed for Jinchuu!

- anonymous mod and white plum

GIFS by HYRK
Photos from Rurouni Kenshin 
PS: To everyone who read HYRK’s live action speculation post, we apologize for unintentionally spoiling you! It seems we got most of the speculations right. ^^x

Source : http://heckyeahruroken.tumblr.com/post/94547303604/rurouni-kenshin-kyoto-taika-hen-kyoto-inferno-movie

[kokoro_ai]

Wow Thank you so much for sharing so much information of this incredible live action.

[Maja]

class="fbPhotoAlbumTitle"#るろうに剣心 Distribution Dates - Kyoto Inferno[Distribution Update] Kyoto Inferno Screening
Montreal, Canada (done last August 3 and August 7)
ﾒPhilippines(Aug 20- Ongoing),
ﾒSingapore (Aug 28),
ﾒTaiwan (Sept.26),
ﾒHong Kong (Sept 18),
ﾒIndonesia (Sept. 10),
ﾒLos Angeles, US (Sept 12-14 via LA EigaFest)
ﾒThailand (Oct 2),
ﾒMalaysia (to be announced)

ﾒAustralia / New Zealand : via Japanese Film Festival
[Adelaide 10 – 12 & 17 – 19 October Mercury Cinema
Canberra 15 – 19 October Capitol Cinema Manuka
Brisbane 22 – 26 October Event Cinemas, Brisbane City Myer Centre
Perth 29 October – 2 November Hoyts Carousel & Hoyts Millennium
Auckland 6 – 12 November Rialto Cinemas, Newmarket
Sydney 13 – 23 November Event Cinemas, George Street & Event Cinemas, Parramatta new! Art Gallery of New South Wales (JFF classics – Wed, Sat & Sun, 15 – 26 October)
Melbourne 27 November – 7 December Hoyts Melbourne Central & Australian Centre for the Moving Image


The film distribution schedules were announced during the Asian Premiere held yesterday, August 6 in Manila Philippines. The sequel is to be released to 53 countries . (Other countries to be announced)

この日のイベントでは、フィリピンに次いで、シンガポール（8/28）、タイ（9/18）、台湾（9/26）、香港（9/18）、インドネシア（9/10）、マレーシア（調整中）、オーストラリア/ニュージーランド（調整中）のほか、世界53の国と地域で配給が決定したことも発表された。

source : http://cinetri.jp/report/ruroken2_philippines/

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Japanese actor Takeru Satoh (L) and Munetaka Aoki ®, cast members of the movie 'Rurouni Kenshin' (Kyoto Inferno) gesture during a photocall in Manila, the Philippines, 07 August 2014. Japanese director Keishi Otomo and actors Takeru Satoh, Emi Takei and Munetaka Aoki are in Manila to grace the premiere showing of the movie Kyoto Inferno. EPA/FRANCIS R. MALASIG
photo credit as labeled







(R-L) Japanese film director Keishi Otomo along with the cast of the movie 'Rurouni Kenshin' (Kyoto Inferno) Emi Takei, Takeru Satoh, and Munetaka Aoki pose next to a jeepney (a popular and uniquely Filipino mode of mass transport) during a photocall in Manila, the Philippines, 07 August 2014. Japanese director Keishi Otomo and actors Takeru Satoh, Emi Takei and Munetaka Aoki are in Manila to grace the premiere showing of the movie Kyoto Inferno. EPA/FRANCIS R. MALASIG





credit: daum

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Japanese actor/cast member Takeru Satoh ® smiles to fans during a press conference on the movie 'Rurouni Kenshin' (Kyoto Inferno) in Makati City, south of Manila, Philippines, 07 August 2014. The movie will open in Philippine cinemas on 24 September. EPA/FRANCIS R. MALASIG
photo credit as labeled



Japanese actor/cast member Munetaka Aoki gestures to fans during a press conference on the movie 'Rurouni Kenshin' (Kyoto Inferno) in Makati City, south of Manila, Philippines, 07 August 2014.



Japanese actors/cast members Takeru Satoh (L) and Munetaka Aoki ® greet fans during a press conference on the movie 'Rurouni Kenshin' (Kyoto Inferno) in Makati City, south of Manila, Philippines, 07 August 2014



Japanese director Keishi Otomo (L) and Japanese actors/cast members Takeru Satoh © and Munetaka Aoki ® greet fans during a press conference on the movie



Japanese actor/cast member Takeru Satoh © waves smiles to fans during a press conference on the movie 'Rurouni Kenshin' (Kyoto Inferno) in Makati City, south of Manila, Philippines, 07 August 2014



Filipino fans cheer to the cast of the movie 'Rurouni Kenshin' (Kyoto Inferno) during a press conference in Makati City, south of Manila, Philippines, 07 August 2014.



credit: daum

[pechumori]

photo credit: 小鷹 and Saga
source: kenshin-epaper.

[pechumori]

Pinoy fans go crazy over RUROUNI KENSHIN cast and crew during the film's Asian premiere in Manila

class="date-header"Saturday, August 9, 2014

POTATO ON THE GO COVERAGE (Movie):
by Sine Gang (Jane Villa)

Fan art dreams do come true. Kenshin, Kaoru, and Sano appears in modern-day fashion and it was glorious!

Ever wonder what it would feel like when Kenshin Himura, Kamiya Kaoru, and Sanosuke Sagara materialises before your very eyes wearing present-day clothes?

It felt like the ultimate fan art dream come true; your favorite 19th-century manga characters time-traveling to the year 2014 and looking dapper and fashion-forward in suits and a dress.

Like a cross-over scene straight out of Once Upon a Time's Storybrooke, and Kenshin, Kaoru, and Sano were actual, real people existing among us regular folks.



The mind-blowing surreality was enough to drive the thousands of Rurouni Kenshin fans into hysterics of almost Beatlemanic proportions, minus the crying and the fainting, from the moment the three characters stepped on the entrance of SM Megamall.



The characters arrived in Manila for a two-day treat to Filipino fans - the red carpet Asian Premiere of Rurouni Kenshin: Kyoto Inferno at SM Megamall on August 6 and a public press conference at Glorietta, Ayala Center on August 7.





The actors who played them, Takeru Satoh (Kenshin), Emi Takei (Kaoru), and Munetaka Aoki (Sano), proved to their fans, some coming from as far as Pangasinan up North to Davao down South, that they were perfect for their respective roles, breathing the illustrated manga/anime characters into life, exactly as fans imagined them to be.

Munetaka San in particular was like a living, breathing Sanosuke in a suit and flip flops, providing comic-relief in every opportunity that presented itself, displaying the right amount of swagger as he delighted fans with Tagalog street slang. "Ashi-tig (Astig)" was his Pinoy buzz word of choice.



Takeru San displayed his Kenshin the wanderer comic side when he granted a fan's request to do his signature expression, "Oro?!" and his serious, Kenshin the hitokiri side when he waxed philosophical about why Rurouni Kenshin the series resonated so much with Asian audiences.



Emi San was endearing and cute. Hearing her talk was like listening to a regular conversation Kaoru is having with Kenshin, Yahiko, Sano and Megumi at the Kamiya Dojo.

To say that the fans were giddy would be an understatement, if the excited squeals from fans every time their images would be flashed on screen were any indication. Their response to the actors was even more insane as each answer was met with cheers and applause and more squeals.





Not to be sidelined is the movie's director, Keishi Ohtomo, who received the same warm and energetic response from the audience. The fans accorded him a much-deserved respect and reverence for doing right by the manga and anime. Working closely with series creator Nobuhiro Watsuki, he was able to bring out everything it should take from the cast and the production to make the film as true to the spirit and story of the manga.



Hence, when asked how he would feel if Hollywood would do an English-language remake of his film, he just nonchalantly replied, "They are free to attempt to do it." The fans, however, were less politically correct. As soon as the question was asked the audience uttered a collective, loud NO!!!

Rurouni Kenshin: Kyoto Inferno lived up to the fans expectations set by the first film. The movie will open on August 20 in theaters nationwide. The third installment, Rurouni Kenshin: The Legend Ends will screen on September 24.



credit:  digitista

[Maja]

All Night Nippon Tama-raji Blog : posted on Aug 26

~translation~

Action Practice in Namib Desert!

F: Hiko Seijuro is here!

This week, Fukuyama-san is finally allowed to tell you the name he barely kept himself from letting off.

‘Rurouni Kenshin Kyoto Inferno’, where Fukuyama-san appears, is now showing and has become a big hit.

In today’s Tama-Raji-Report, we’ll continue to report behind the scenes of the film.

This film has violent action scenes and Fukuyama-san practiced actions in unexpected place, he says…

○RN:みぃこMiiko (Iwate Prefecture)

‘About Rurouni Kenshin’, I can’t wait for Fukuyama-san’s full-scale sword action! In a certain interview, Action Dir Tanigaki-san said, “Before he started practicing actions, I showed Fukuyama-san the whole scenes where the main actors, including Sato Takeru-kun, were practicing actions. I think he learned how seriously all of them were doing actions using their bodies. If I had been Fukuyama-san, I would have felt terrible LOL.” How did you actually feel?’

S: In Tanigaki-san’s interview, he said, ‘I handed this to Fukuyama-san and he carried it with him to the shooting site of Hot Spot and practiced there’…?’

F: Yes. I practiced in Namib Desert lol.

Fukuyama-san tried action forms taught by Tanigaki-san in the desert! LOL

F: Since I didn’t have a stick, I used something I found on the ground in place of it. I taught my manager the action sequence and practiced in Namib Desert.

Imagine Miyamoto Musashi-san and Momotaro are fighting in the desert in a certain CM.

F: That’s it.

 In the vast desert, Fukuyama-san is holding a little shorter stick and facing his manager…

 What a surreal picture! (^^

S: Then you had some feeling in your mind like you had to practice until it became automatic…?

F: I had some time to wait during the shooting of Hot Spot.

S: So Tanigaki-san said, ‘When the shooting (of RK) started, he made it perfectly’.

F: No, no, no, it was not such a great thing. But I practiced before going to Africa, and also after coming back.

Fukuyama-san tackled a different type of sword action from NHK’s period drama ‘Ryoma-den’.

And that this time his role is Kenshin’s master and nurturing parent.

They say that Sato Takeru-san as Kenshin said, ‘Hiko Seijuro, Fukuyama-san played, is the only stronger person than Kenshin, so his action scenes must have been very tough.’

About this, Fukuyama-san said,

F: If you ask who did the hardest job, it’s Kenshin. After all he had to fight different types. Actions of Tanigaki-san in Team Otomo are based on the idea: Action itself is acting’. It means that even one swing of a sword or how to defend it has to show the character’s identity to be given the OK.

Even if there is a basic action that can be called ‘the right way to swing a sword’, each character has its own swordsmanship, which should be different from character to character.

The same thing can be said about the swing of bat in baseball, or club of golf, he continued.

F: It is the same about a swing of sword, so they gave the OK to an action only when the character’s personality appeared in the action itself. Even if the action went well as a sequence, if nothing appeared in it, it was no good, so it was quite tough. If it was just ‘I am done ~~~!’ and showed no relationship between the fighters, it’s not good at all, right? Actually a master has to have power as such and Kenshin has to be overwhelmed by it.

Kenshin had to be involved not only with Fukuyama-san but all the characters, and he had to both attack and defend. Moreover each actor has his unique swordsmanship and timing.

F: I think it was hard. There must have been many different sword actions: those that fit well together and jerky ones that don’t fit well.

Fukuyama-san gave thought to Sato-san.

For your information, many of you may have thought actions in the film ‘Rurouni Kenshin Kyoto Inferno’ now showing are awesome, but he says ‘The Legend Ends’ to be released on Sept 13 is far more terrific!

F: Such are human beings that both those who see it and those who play it will get used to something which was given the OK at first, you know. Compared with the start of the shooting, actions got more violent gradually as we progressed to Part1, Part 2, and then Part 3, I guess. Since I joined the shooting in the middle, I don’t know all, but I think it was hard.

 Come to think of it, I hear Sato-san said he was tempted to try how narrowly he could dodge…

S: Usually, even in the scene which shows ‘narrow escape’, the fighters are actually standing far away, I suppose.

F: He said he got the urge to wait to dodge to the last moment. I thought it’s wonderful to be young! I didn’t like something that might hit me LOL. It takes me long to recover from injuries.

*snip*

(Source: allnightnippon.com)

Translated at : http://stephany-310.tumblr.com/post/95822544129/all-night-nippon-tama-raji-blog-posted-on-aug-26

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Artwork








credit: Amie689 and deviantart

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Artwork







credit: Amie689 and deviantart

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Artwork



credit as labeled and deviantart



credit:  megurobonin and deviantart

[pechumori]

‘Astig’ antics endear ‘Rurouni Kenshin’ star Munetaka Aoki to fans

By ANDREI MEDINA, GMA NewsAugust 10, 2014



Not about to be trumped by "Rurouni Kenshin" co-star Takeru Satoh, who has a huge following in the Philippines, Japanese actor Munetaka Aoki (Sanosuke Sagara) won the hearts of fans with his amusing antics during the media events for the film in Metro Manila last week.

Showing up to the press conference for the film last Thursday at the Glorietta mall in a black suit and a pair of flip-flops, Aoki greeted the audience with a lot of enthusiasm, waving to the hundreds in attendance.

He was even more hilarious during the question and answer portion where he seemed to perfectly portray Sanosuke's personality off-screen.

“I lost a tooth but I don't mind because I'm Sanosuke!” Aoki energetically said in reply to a question asking if they got injured during filming, prompting the crowd to chuckle.

He also broke the ice after Satoh said he didn't think there was any modern person similar to his character in the film, Kenshin Himura.

“I know, I know.. the person is him!” Aoki exclaimed while pointing at Satoh.

Astig

Aoki also said that a Filipino friend of his told him that he was “astig,” since he was portraying Sanosuke, seen as a "cool" character in the popular anime and manga series.

“Sano is kind of a street figther. And he has a very strong passion and is a protective, reliable person. I love him very much and the Filipino person told me [that I'm] astig! I'm very happy, astig! Thank you very much,” Aoki said.

The fans were also greatly entertained by Aoki's efforts to answer the questions in English with little reliance on his interpreter.

While the air was filled with squeals everytime Satoh spoke, Aoki was sure to make them laugh afterwards, either with his comedic answers or silly actions.

This endeared Aoki to the crowd and caused them to chant his character's name numerous times during the event.

“Sano! Sano! Sano!” the crowd erupted, to which he would raise both arms in a triumphant pose.

On a more serious note, Aoki said that Sanosuke's main role was to protect and support Kenshin, so that the latter could stick to his decision to never kill again.

“That is the role of Sanosuke, to be protective of Kenshin,” Aoki explained.

He also urged the Filipino fans to support “Kyoto Inferno” and the third installment of the movie trilogy, “The Legend Ends,” which will be shown next month.

“From part two and three the new characters make the movie more thrilling and exciting, so please watch and enjoy it,” he said.

“Astig! Magandang gabi po! Mahal ko kayo!” Aoki told a delighted audience near the end of the press conference. — BM, GMA News

"Rurouni Kenshin: Kyoto Inferno" opens locally on August 20. The final film in the trilogy, "Rurouni Kenshin:The Legend Ends," will open on September 24.

credit:  gmanetwork

[pechumori]

class="title" id="page-title" WATCH: 'Kenshin Himura' thanks Pinoy fans By Chuck Smith (philstar.com) | Updated August 7, 2014



MANILA, Philippines – The stars of “Rurouni Kenshin: Kyoto Inferno” thanked their Filipino fans during the movie's Manila red carpet premiere at the SM Megamall in Mandaluyong City on Wednesday, August 6.

“I'm extremely happy. It's my first time to come to the Philippines and it was my first time to meet all of you. I'm truly, truly happy right now,” Takeru Satoh, who plays a legendary assassin turned conflicted hero Kenshin Himura during Japan's Meiji era in movie.

Munetaka Aoki (who plays Sanosuke Sagara), Emi Takei (Kaoru Kamiya), and director Keishi Otomo were also present during the red carpet event.

“Rurouni Kenshin: Kyoto Inferno” is the sequel of the hit 2012 Japanese movie “Rurouni Kenshin,” based on the popular manga and anime series of the same name. 2012's "Rurouni Kenshin" reportedly broke the box office record for a Japanese movie in the Philippines.

The movie premieres in the Philippines on August 20. Watch the video here (Video by Yas Salanga):

credit:  Philstar

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class="title" id="page-title" Pinoy fans go wild over 'Kenshin Himura' By Joyce Jimenez (philstar.com) | Updated August 7, 2014

MANILA, Philippines - Filipino fans went wild at the Red Carpet premier of "Rurouni Kenshin: Kyoto Inferno" as its top three cast members graced the event at SM Megamall on Wednesday night.

Takeru Satoh, Emi Takei, and Munetaka Aoki with the film's director Keishi Ohtomo spent a few minutes with their fans before the screening started.

The three actors, including Takeru who plays the movie's main character Kenshin Himura, spent almost an hour on the red carpet as they gave their fans a chance to take their pictures and shake hands with them.

The crowd at the red carpet premier went wild when the three actors addressed their fans and one by one spoke: "Mahal ko kayo!"

Some fans were even given the chance to ask questions from the three actors.

Asked how similar he is with Kenshin Himura, Takeru replied in Japanese: "It's not the similarities or the differences, but right now whenever I do things I always ask myself, 'What would Kenshin do?"

Takeru added: "I always refer to what I will do with what Kenshin will decide."

The Japanese actor also made the crowd laugh when he said that his favorite Kenshin move was "his running."

Meanwhile, Takei related that one of her favorite part of the film is when "I have to part ways with Kenshin."

Asked again if they would like to return to the Philippines, Takeru said "I want to!." Aoki, meanwhile, told the crowd "That will depend on you, guys!"

"Rurouni Kenshin: Kyoto Inferno" will be in Philippine cinemas on August 20.

credit:   Philstar

[pechumori]

class="title" id="page-title" IN PHOTOS: Stars of 'Rurouni Kenshin' in Manila red carpet premiere By Chuck Smith (philstar.com) | Updated August 6, 2014

MANILA, Philippines – The red carpet premiere of “Rurouni Kenshin: Kyoto Inferno” didn't start until 6 p.m. However, fans were already waiting for the stars of the hit Japanese movie as early as three in the afternoon at the Event Center of SM Megamall in Mandaluyong City on Wednesday, August 6.

“Rurouni Kenshin: Kyoto Inferno” is the sequel of the 2012 Japanese movie “Rurouni Kenshin,” based on the hit comic book and anime series of the same name. The Rurouni Kenshin franchise became popular in the Philippines during the late 90s, when a local channel aired the series, dubbed in English, as “Samurai X.”

Takeru Satoh, Emi Takei and Munetaka Aoki at the "Rurouni Kenshin: Kyoto Inferno" red carpet premiere in Manila (Photo by Yas Salanga)

The movie's main stars Takeru Satoh (who plays Kenshin), Emi Takei (Kaoru) and Munetaka Aoki (Sanosuke) graced the red carpet premiere, along with director Keishi Otomo.

The Manila premiere of “Rurouni Kenshin: Kyoto Inferno” is the only premiere event of the movie outside Japan.

Director Keishi Otomo and "Rurouni Kenshin" main stars Takeru Satoh, Emi Takei, and Munetaka Aoki (Photo by Yas Salanga)

The movie premieres in the Philippines on August 20, while it premiered in Japan on August 1.

Takeru Satoh said he prepared for the role of Kenshin "swinging the katana" three months prior to the shoot of the film. 

“Kumusta. Ako po si Takeru Satoh. Masaya ako makita kayo,” greets the main star of the movie, much to the delight of the fans, some of whom attended the event dressed as characters from the movie.

“I heard that Rurouni Kenshin broke the record of any Japanese film shown in the Philippines,” Takeru said through a translator. The 25-year-old actor added he can't believe “Rurouni Kenshin: Kyoto Inferno” will be shown in the Philippines just a few days after the movie premiered in Japan. He further said, “I believe it is thanks to all of you."

Munetake Aoki walked the red carpet wearing slippers (Photo by Yas Salanga)

“Magandang gabi po,” Munetaka said during a short program after their the red carpet walk at the lower ground floor of SM Megamall. “Salamat po, salamat po. I'm very excited, very excited to stand here.”

“Do you watch the movie, first Samurai X? Do you know my character's name?” he asked. Munetaka also said, “You have to promise you're gonna love the movie. I'm very sure you will love Samurai X.”

"Thank you so much. It's actually my very first time to attend a premiere in another country," said Emi Takei. (Photo by Yas Salanga)

“Thank you so much for such a warm welcome. I'm very surprised. Thank you so much,” Emi said, who noted it was her first time to attend a movie premiere outside Japan.

Takeru, Munetaka, Emi, and their director Keishi reciprocated the warm welcome they received from their Filipino fans by obliging to photo and autography requests of fans waiting by the red carpet.



Munetaka Aoki signs autographs for fans. (Photo by Yas Salanga)

"We really put our lives on the line here. So I hope you can support us and support the movie," said Takeru Satoh. (Photo by Yas Salanga)

As a result, the “Rurouni Kenshin” director and stars took more than thirty minutes to walk from the Megamall lower ground floor entrance to the stage in the middle of the mall's even center.

“We're very glad to have such a welcoming premiere in this country. It's really thanks to all of you fans,” Takeru said. “We really put our lives on the line here. So I hope you can support us and support the
movie.”

The main stars of "Rurouni Kenshin: Kyoto Inferno" (Photo by Yas Salanga)

Takeru, Munetaka and Keishi will attend a public press conference for “Rurouni Kenshin: Kyoto Inferno” on Thursday, August 7, at the Glorietta Activity Center in Makati City.

credit:  Philstar